Sad girls with guitars are back in vogue — and why shouldn’t they be? When you’ve got artists like Lucy Dacus, Phoebe Bridgers and most importantly Soccer Mommy, it’s easy to see why there’s a resurgence in soft voices and solitary guitars. But just because she fits into a niche doesn’t mean that Soccer Mommy is a one trick pony. Recent tracks like “Cool”, from her excellent 2018 album Clean, veer into noisier realms with jangling guitars and washed out vocals. This versatility is on full display on “MASS GRAVE,” her phenomenal collaboration with L.A. noise rock group HEALTH. Tracks like these help to prove that Soccer Mommy has a lot more to give fans than just another soft voice and guitar. There’s no telling how much she has yet to evolve as an artist but the blueprint is there and it’s undeniably promising.

Overtly sexual and decked out in avant-garde experimental noise band, Model/Actriz packs an absolute verbal sucker-punch. Formed in Boston, the band is far apart from the New England city’s Puritan roots. Throughout their discography, they effortlessly blend together bits and pieces of post-punk, noise, and even dance, creating a genre frenzy that’s anything but tame. “I wanna f*ck you forever,” lead-singer Cole Haden bites on one of their more well-known tracks, “Matador,” and you can’t help but want to return the sentiment — you’ve become utterly entranced. In a live setting, the band writhes around on stage, flinging themselves from corner to corner and creating an absolute riot in their wake. Their music, their presence, their aura has an attractive quality unlike any other; it’s as if they’re living, breathing art. Model/Actriz’s latest EP No was released in 2017 and considering the time that’s since elapsed, there’s no question that we’re collectively itching for more — keep an ear open for their next sonic revelation.

Erika de Casier’s debut Essentials is by far the most underrated album of of 2019. Anyone who grew up in the 90s would find something to fall in love with on this album, it’s just hit after hit and one the reveals more intricacies with every listen. Essentials is a title that may have seemed audacious for a debut until you actually sit down and listen to it. TLC, Sade, Aaliyah, G-funk stabs, smokey R&B, expertly naive lyrics — it’s all there and while the influences are crystal clear, the innovation is even clearer. Through Erika’s reinterpretations of the 90s, we get both the chance to revisit the feeling of that time while also getting a refreshing commentary of our modern world. This music, in its own simple way, epitomizes the contemporary female experience while transporting us back to when things were simpler. For the past several years, she has been affiliated with the Danish house collective Regelbau, lending her voice to tracks by DJ Central and DJ Sports and performing as one half of soul duo Saint Cava. On her debut solo release under her own name, she’s taken on a much more personal sound. It truly is liking going to the club with an old friend. If you see one act at SXSW, make it Erika de Casier.

Praise from Houston legends like Scarface, Bun B, and Slim Thug have made Propain one of the most promising candidates to become the 3rd Coast’s next superstar. Without a major label, Propain has been able to maneuver through the industry with quality albums and crisp visuals. His vocal tone commands listeners’ ears, drawing them into his world while his southern drawl coats each lyric. Though his influences include Jay-Z and Nas, Propain’s ability to provide commentary about his community, in addition to preaching about the importance of self-reliance and ownership, could easily earn him a title as the Nipsey Hussle of the south. Though his less-than-ideal life experiences as an adult have created a tough exterior, he is versatile enough to show flashes of vulnerability, specifically on songs like “Dear Jada” – a heartfelt cut off of his latest project, In Case We Never Speak Again, about the positive impact his daughter has had on his life.

Glaswegian producer, singer, songwriter and label head Sega Bodega completed a two year arc of self-discovery and transformation by announcing his debut album Salvador for release in February 2020. He heads up the acclaimed NUXXE label with the equally-impressive Shygirl, both of who had a huge 2019. Bodega has had a creative hand in countless projects, working with artists like Oklou and Cosima. His most famed, however, would be his production work on Shygirl’s track ‘BB’ which topped many end-of-year, best-of lists including Dazed, Fader, FACT and The Guardian. But it’s on his 2018 solo EP self*care where he really shines. It’s a highly accomplished body of work that recalls the early works of SOPHIE and Amnesia Scanner, while adding the uniquely Sega Bodega touch. R&B morphed with kinetic club music and a lace of gremlin-like vocals makes self*care one of the more interesting experimental releases of recent times, and a sign of very exciting things to come.

South Florida hip-hop has become known for loud personalities and even louder music. Unlike his Florida peers Ski Mask The Slump God, Lil Pump, Denzel Curry and Kodak Black, rising rapper $NOT is keeping a relatively low profile. In an interview with Pigeons & Planes he described his music as “hella chill,” and he pulls his hoodie drawstrings so tight that his full face is rarely exposed. His vocal style is sedate and his beat selections are hypnotizing, but when it comes to his live show, expect things to get rowdy. $NOT makes an effort to get his fans involved, and after a barrage of underground hit singles like “Moon & Stars,” “GOSHA,” “BERETTA,” and “MEGAN,” his fans should be more engaged than ever in 2020.

In 2017, when Lido Pimienta won the prestigious Polaris Prize (and the $50,000 that came with it) her album La Papessa became the first Spanish-language LP to take Canada’s top musical honor. Its title translates to “The High Priestess” and she’s embodied that persona at every turn, leading a movement towards inclusion and diversity in Toronto’s music scene while also branching out into visual arts as curator and creator. Having spent her teens in punk and metal bands protesting the Colombian government, Pimienta has retained that same sense of urgency while exploiting the malleability of electronic production in service of her politically charged messages, which drive both her lyrics and her dialogue with live audiences. Now, Pimienta returns with Miss Colombia, a collection of songs (out in April) that reckon with her status as a Colombian immigrant, her Afro-Colombian and Indigenous Wayuu roots, and queer desire. Her rousing electro-Cumbia pulses as a three-piece with Pimienta’s ardent soprano backed by traditional percussion and modern synth — be prepared to dance.

Leeds-based trio Far Caspian was started as a solo project of the Irish multi-instrumentalist and producer Joel Johnston. The band’s notable bedroom pop sound is attractive for its longing yet upbeat chords and skippy backing beats. Two successful EPs in the past two years have exalted the group into the indie music scene limelight. 2019’s The Heights serves as a prime example of how Far Caspian’s music can cause listeners to run awash with wistful feelings of romantic regret and yet still want to dance. It’s a truly sensational ride. It’s the soundtrack that will be playing when you’re running to meet a lost lover. It’s Far Caspian.

The Blind Suns make me think of the sun, ocean breeze, surfing, and psychedelia, but never California. It’s more like Baltic and Atlantic. Maybe that’s why Charles Rowell from Crocodiles decided to produce their second album Offshore. However, the real attraction of The Blind Suns comes out when you watch their live performance. Under the influence of 60’s psych-surf and the 80’s-90’s shoegaze/dream pop era, the French-Polish duo makes a perfect chemical synergy on the stage — Dorota’s performance and attitude could be compared with Poison Ivy from The Cramps. The last time they performed at Hotel Vegas, they were discovered as one of the sexiest bands of SXSW 2018 by Irish magazine Hot Press, but that’s just a part of their show. It’s beyond sexiness.

“It’s my time, and nobody can tell me nothing.” When Odunsi (The Engine) utters those words in a shimmering falsetto on “rare,” he demands your pure and undivided attention. The song is a compelling introduction to his debut album, a gem of a project that features subdued rhythms and dreamy, glorious chords. The album’s best moment arrives on “star signs,” with stirring melodies and distinctive percussion that give it endless replay value. Both a vocalist and a producer, there are plenty of reasons to be excited about the man from Lagos, Nigeria, as he continues to be a torch bearer of the growing Afrofusion sound.

Lula Wiles consists of three extraordinary players and singers — and none of them are named Lula. Isa Burke, Ellie Buckland and Mali Obomsawin are three friends who began collaborating in college and released their Smithsonian Folkways debut, What Will We Do in 2019. Like I’m With Her, they’re a folk group with three distinct voices and plenty to say. Their golden harmonies and game arrangements keep the music light and airy, but thematically they’re not afraid to tackle weighty topics like the exploitation of Native American stereotypes (“Good Old American Values”) and the ways the opioid crisis affects small towns (“Hometown”). They can rock out, but they can also sing sweet, soaring country love songs (and plenty of heartbreak songs, too). Their live show is energetic and engaging, and their storytelling is immediate. Their 2019 album includes a cover of Trio’s “The Pain of Loving You” — Dolly, Linda and Emmylou vibes, anyone? They’re one of a crop of emerging acoustic groups who are taking old-time traditions and sounds and refreshing them for a modern audience.

Frances Quinlan’s voice is like a sucker-punch to the gut, and she’s been knocking folks out with it as the frontperson of Philly indie rock act Hop Along since 2009. Erudite lyrics delivered with emotional tension have garnered a cultish following for her band over the course of three records, but the project began as a solo endeavor when Quinlan attended art school in the mid-aughts. In 2019, she returned to songwriting solo, releasing her debut LP Likewise in January of this year. Produced by Hop Along bandmate Joe Reinhart, the comparatively stripped-down compositions lend a welcome intimacy to Quinlan’s narratives, as she recounts childhood memories, interprets conversations held in dreams, and ponders the nature of human connection. Quinlan brings Likewise to life on stage with little more than a guitar and a pedal board, wry banter, a few Hop Along favorites, and maybe a cover or two, but her voice is as searing and indelible as ever.

If anyone out there fondly remembers Grimes’ early appearances at SXSW, around the time she released Visions, they might want to check out Norway’s Otha. Led by front person Othalie Husoy, the duo’s three singles so far have all been absolutely top quality – an alluring mix of melancholy and ice-cold defiance that successfully merge classic pop and dance in a way that few others have in recent years (I’d put Peggy Gou, Kedr Livanskiy and Yaeji in a similar, supremely talented ballpark). Playing in London last year, Otha showcased a bunch of as-yet-unreleased material that really piqued my interest, all of it immediately hummable, all of it inspired.

The Orielles are expertly tuned musicians and poets playing undercover in a shimmering indie rock band. The U.K.-based trio’s guitar solos melt down your soul while the lyrics hit you so personally in the heart that you don’t know what to do. Their most recent album Disco Volador, released Feb. 28th on Heavenly Recordings, still has a veil of their usual intensely passionate and emotional melodies, but with a funky/danceable twist. It takes you to space in a rocket full of tears, love, and curiosities. Catch them live and you’ll do more than just sway side to side.

Hong Kong is a city which has been — and is going — through turbulent times. In these moments, it is comforting to turn to the sensitive and contemplative music of Olivier Cong. A singer songwriter, composer and multi-instrumentalist specializing in introspective and atmospheric soft depths, his creations provide supple gusts and delicate howls without a hint of weakness. For his is a gentle tide — calm but laden with persistent intent, each movement gracefully deliberate and highly considered. Leonard Cohen, Damien Rice and Radiohead mark the reference points on his musical map, though he ploughs forward in a direction all his own. On the strength of his 2018 LP A Ghost And His Paintings, Apple Music selected Cong as their first Hong Kong Spotlight Artist. The follow-up release Through The Window I See No Star was a live recording of Cong’s ambitious performance at St. Andrew’s Church. Invitations to compose for the Hong Kong Ballet and Shanghai Opera House, amongst others, are a testament to his talent, pedigree and quiet confidence.

TSHA is a London-based DJ/producer whose diverse style is danceable yet challenging at the same time. Think Four Tet and Jon Hopkins. Her 2019 single “Me You” immediately hooked me — It seems to pull the best from modern trends and throw a unique spin on top. I am very excited to see where TSHA goes in 2020.

Cardiff’s Buzzard Buzzard Buzzard are making glam rock great again. Their live show is half nihilistic showmanship and half supremely endearing musicianship, with lead singer Tom Rees throwing himself around stage with tongue-in-cheek abandon and a whole lot of youthful charm. While previous single “Late Night City” is about as retro as it gets, tunes like “Double Denim Hop” and “Love Forever” have a hint of their home nation’s psychedelic past to them — a bit Super Furry Animals meets Gorky’s Zygotic Mycni, but the weed’s been laced with uppers — a different decade, but the same tight knitwear and Welsh talent for a cheeky hook. After a good year of constant touring and festival spots, and with support from the likes of BBC Introducing, NME and yours truly at The Line of Best Fit, we know they’ll be Canadian tuxedo-ing their way across the USA to acclaim.

The Southern soul is evident in everything Jack Freeman creates. Born in Houston, Texas, the singer blends grungy rock tones with sturdy, effortless grooves, creating a timeless sound that rarely disappoints. Lyrically, he creates heartfelt storylines that revolve around love, at times rejoicing in its beauty, and at times lashing out against it’s cruel misgivings. In November 2019 he released Leather, a 5 song EP that added smooth textures to his growing catalogue. A SXSW veteran, Freeman performed at showcases in both 2018 and 2019, and he’ll return to Austin in 2020 to grace the stage once again.

Brooklyn-based psych-rock group The Muckers has been defying sounds and barriers since their early formation in Tehran, Iran. Formed by Emir Mohsseni, the band nods to funk, 70’s glam and rock and roll with an effortless charisma heard in their 2018 debut EP It’s Better Without You, which Rolling Stone called a “record that shimmers with fire and possibility.” The EP boasts grooves and vibrant tones taken straight from a Studio-54 spoof film — in a good, retro-made-modern way. In a recent NME article the band was dubbed as “one of New York’s most exciting new bands”, including them too in their 100 Essential New Artists For 2020. The Muckers’ effervescent sound and presence is timeless, and as NME confirms, saying, “The Muckers are also a gang who don’t take themselves too seriously,” it’s all good times laced with glitter.

Formed in Guadalajara, Jalisco, by Lorena Quintanilla and Alberto González, this duo brings a cathartic and hypnotic experience, melding dreamy vocals with instrumental aspects between psychedelia, garage rock, krautrock and shoegaze with great artistry. Challenging at times, with moments that could be described as chaotic, their show is defined by a complex, layered collection of songs that ask its audience to leave all their worries behind and focus only their movements. At the end, every sound is transformed into a moment of relaxation and community with the music. The widely-praised fifth entry in their discography De Facto (2019) resembles the work of legendary Scottish trio Cocteau Twins, one of their most vital influences.

Doeman is out to prove that hip-hop is better in Texas. Growing up in Southeast Houston, the self-proclaimed Barrio God didn’t have immediate access to major labels — instead, he accrued the acumen to start his own collective, Dyna Music Group. Independently, Doeman has moved needles for himself regionally and countrywide, from his own Texas tour to a slot in Rolling Loud’s Los Angeles festival. In 2019, he added to his discography with the release of Texas Chainsaw Massacre, a 7-song EP featuring fellow Houstonian Maxo Kream. His innate skills as an MC have only improved over the years. Flashes of fast raps appear in songs like No Limit ‘91 and Upside, while songs like Again showcase his ability to flow effortlessly on to instrumentals with sultry choruses. On- and off-record, he never shies away from promoting his Mexican-American heritage. Throughout the past five years, Doeman has positioned himself as one of the most promising Texan newcomers to watch.

Great Grandpa have put out some really excellent indie rock over the past few years. Their first album Plastic Cough opens with an anthemic banger in “Teen Challenge” — this track gets stuck in my head all the time. The band’s 2019 album Four of Arrows evolved their sound naturally, to a maybe more mature place — arrangements got a bit more sophisticated, production more complex, and new genre influencers were introduced — but not to worry, the anthemic bangers and emotional heft are still there. “Mono no Aware” has to be one of my top songs of 2019.

Going from four childhood friends with somewhat daft names for one another, to becoming an integral part of the next generation of London’s punk scene, Italia 90 are a band that’ll certainly stick in your mind. Having relocated from their home of Brighton to become part of South London’s infamously creative hub, the quartet – Les Miserable, J Dangerous, Bobby Portrait and Captain ACAB – have quickly developed a reputation for melding together all manner of influences and styles to create their jagged, enticing brand of post-punk. Led by Les’ no-nonsense vocal style, their tracks come socially-charged and packed with a sense of addictive restlessness and power, that really marks them out amongst their punk peers.

With vital music often coming out of tough times, it’s really no surprise that the slew of thrilling, punk-inspired guitar acts breaking out from the UK continues apace. So it is that Irish five-piece The Murder Capital arrive in Austin, with a highly deserved reputation in Europe for their blissfully unforgiving music and incendiary live shows. Drawn from the same Dublin scene as Fontaines D.C., they are the darker, more theatrical fellow to Fontaine’s anthemic pub brand of post punk. 2019’s Flood-produced coming of age album When I Have Fears showcases the vast emotional landscape they operate inside, whilst simultaneously pinpointing the tenderness and beauty in brutality they revel in. Sublime art-punk rock at its best, and indeed best experienced live. Make beelines!

“Abusey Junction” was originally released on a compilation for Gilles Peresson’s Bronswood Recordings. It later took the lead on an exceptional self-titled EP. It has been two years since the initial release of “Abusey Junction”, and the song has found its way into playlists around the globe. Written by KOKOROKO’s guitarist on a rooftop in Gambia, it’s no surprise that the rest of the band’s music takes on a noticeably authentic West African hue — their afrobeat flair is a leading light in the London jazz community. Much like the emergence of recent heavyweights Khruangbin and their Thai funk sound, KOKOROKO have managed to harness a sound from the past — think Fela Kuti —and present it to modern audiences. Millions of listeners have already caught on to this band — they’ll be a must-see at SXSW 2020.

New Zealand sisters Clementine and Valentine Nixon took inspiration for the name of their musical project, Purple Pilgrims, from lives spent traveling. Spending time in Hong Kong and China, and later touring throughout the world with Ariel Pink and Gary War among others, the sisters returned to New Zealand, playing their first shows together in early 2011. They left again after the Christchurch earthquake wrought havoc on the city in February. Despite the upheaval, they released their debut 8″ later that year on Pseudo Arcana, and went on to put out a 2013 split with tourmate Gary War on Upset the Rhythm, as well as their first LP, 2016’s Eternal Delight, on Not Not Fun. They returned to their New Zealand roots for their most recent LP, 2019’s Perfumed Earth which came out on Flying Nun. It’s an otherworldly, ethereal collection of songs with suggestions of psychedelia to recall the constant motion of their lives.

Sen Morimoto is a multi-instrumentalist composer and songwriter born in Kyoto, Japan and currently based in Chicago. Brought into the spotlight by the lo-fi and charmingly nostalgic music video for “Cannonball” in 2018, his beats and mellow vocals have only become sharper: precisely-delivered lyrics inspire a sense of paranoia and anxiety, set to polyrhythmic beats that reflect jazz and abstract hip-hop influences. Morimoto’s debut jazz-rap album Cannonball! opens new avenues of creativity — if you’re looking for the future of music, find it here.

Houston-based dance rap wunderkind Tisakorean demands a physical response. His vocal performances are like a cartoon fight cloud, understated flows doing battle with enthusiastic yelps and barked refrains. Hits like “The Mop” and “Dip” are gleefully unhinged, succeeding behind the 2-year-old’s considerable charisma and knack for easy-to-learn dance moves. Tisa expanded his musical universe on his 2019 debut mixtape, A Guide To Being A Partying Freshman, and has since been championed by stars like Lil Uzi Vert and Chance the Rapper. Tisa’s music is distinctly modern but evokes the ringtone rap age, when sparse beats and infectious hooks ruled the charts. He’s mostly known for his success on platforms like Triller and TikTok, but there’s no doubt that Tisa will bring his devilish energy to the stage.

Ali Barter’s music deals with the devastating truths of young adulthood, coated in the shimmering veneer of guitar-driven pop rock. On her much acclaimed second album Hello, I’m Doing My Best, the Melbourne artist traverses emotional minefields such as sobriety, self-doubt and body shame with a light touch, counteracting the thematic heaviness with cheeky lyricism and glistening production. As Barter herself explains, “I really connect to the idea that you can say something really controversial, but if you say it in a nice way people are more likely to listen to it.”

UK band Petrol Girls’ post-hardcore/indie rock blend has made them one of the most talked-about new punk bands around — just one listen to their great 2019 album, Cut & Stitch, and it’s no surprise to learn they’ve already landed tours overseas with Refused, Thrice, and La Dispute — and they seem poised to finally leave their mark on US audiences this year. They’ve got an intense, hard-hitting sound, but they don’t shy away from clean production or a catchy chorus, making their attack just a little more approachable without sacrificing any of their raw power. And the intensity in the music is matched by powerful lyrics that the band themselves have deemed “raging feminist post-hardcore.” Raging indeed.

The Southern-style of Chattanooga based rap artist YGTUT can be summed up in one word: honest. Whether ignited by his confidence on more bombastic production or drawn into the sermon-like delivery of his more introspective records, YGTUT never seems to let a verse go to waste. Chock-full of what can only be described as honest assessments of the world around him, the Tennessee preacher’s son draws from emotions, feelings and experiences he’s lived himself. This utter transparency and commitment to truth, which is present and accounted for on almost every record, doesn’t only invite listeners into YGTUT’s musical world but introduces listeners to the man behind it all. His most recent release, a seven-track EP titled I.O.U., continues to build on his growing catalog and define the man behind the mic. YGTUT is a name we will undoubtedly be talking about for a long time as he continues to place truth and honesty at the forefront of his music.

Northern Irish singer-songwriter Lilla Vargen has one of the most beautiful voices I’ve heard in a long time. Her songs are packed full of emotion, honesty and empathy, with her writing showing a real desire to express and highlight the universal issues that she cares about. She’s recently wowed people all across Europe with her live set, after touring with fellow musician and friend Dermot Kennedy, and now she’s ready to take on SXSW! She’s definitely an act to see at this year’s festival, because by next year I reckon she’ll be known as a superstar. In preparation, take a listen to her sublime recently released EP We Were Thunder.

Born out of the idea of reimagining a group as a sound system, El Guajiro, Chongo and Doctor Keyta, three of the most prominent names in the forward-thinking Colombian music scene, gathered between them the expertise, skills and vision that made Ghetto Kumbé the trailblazing live act it has become. Adding percussion, Caribbean beats and UK bass inspired elements to the mix, they blend traditional West African rhythms with Colombian sounds. Ranging from Cumbia, Palenquero, and more, the outcome is an inevitable and highly energetic dance-floor experience. Two EPs in, their sophomore album Soy Selva elevated their liking for club music with an Afro-Colombian flare. As they cast a light on their roots, traditions, relatability and respect for nature, Ghetto Kumbé, with their touch for dynamic sounds and innovation, are credible representatives of the modern Colombian electronic scene.

What happens when you take a band of tatted-up, long-haired bikers, dirty skaters, trouble-making misfits from the mountains of Salt Lake City, Utah and drop them in a gritty Brooklyn, NYC hole? You get the beautiful chaos of Max Pain & the Groovies, of course. Their in-your-face psych-rock clouds your brain like a dose of LSD and pokes holes in your reality. Thrash around with these party rockers at their show and you’ll have the trip of a lifetime. They’ve got new music cookin’ for later this year, but in the meantime, catch them live and buckle up for one debaucherous ride.

Two friends from a small town west of Dublin, Tebi Rex are among the rising hopefuls eager to prove Ireland’s worth as major players in hip-hop and urban music following the success of Hare Squead, Rejjie Snow and Kojaque. Under the eaves of the Word Up collective, Matt O’Baoill and Max Zanga have created a sound that sits perfectly at the intersection between dubby, club beats, melodic pop choruses, and a hard-worn trappy flow. Blurring the genres, they’re picking up cues from the likes of Odd Future, Kanye, and Childish Gambino alongside early Chance mixtapes. The result is something with real potential to break through commercially and their debut album, The Young Will Eat The Old was one of last year’s best under-the-radar releases.

Fat Tony became something of a meme — as legit a path to stardom as any these days — last year when he posted a short clip on his Twitter mashing up Brooks and Dunn’s “Neon Moon” and Too $hort’s “Blow the Whistle” at a live show. That might be a novelty to the rest of the 49 states, but it shows how very Texan he is. The Houston native is very much a product of the city’s wide spread, soaking up its signature hip-hop, as well as country, emo, and pop-punk. Like SLABs swerving on I-45, he never stays in one lane. He can release his 2018 album 10,000 Hours on punk stalwarts Don Giovanni and spit fire on Charge It To The Game — his collaboration with producer Kyle Mabson which takes its name from Silkk The Shocker’s southern hip-hop second album — and sound natural doing it all.

Hailing from Glasgow’s increasingly fruitful underground scene, you can spot one of flamboyant troupe Walt Disco’s fans from a mile off: twenty times better dressed than anyone else in the room, they’re the ones who look like a tribe worshipping at the altar of Adam Ant and the late ’70s New Romantics. It would be easy to accuse a band as aesthetically on point as this quintet of style over substance, but — for their next trick — they’ve also got some proper songs to boot. “Strange To Know Nothing” begins with a hysterical trill from frontman James Potter (a man blessed vocals so theatrical it’s one step away from opera) before slinking into a synth-led stomp. Recent single “Dancing Shoes” is a seductive blend of gothic noir and shimmering new wave, while “Cut Your Hair” boasts an irrepressible dance floor bounce. Going into 2020, Walt Disco feel poised for something special.

Fool’s Gold signee HERO is an R&B star for the DIY era. The Canadian-born singer’s recent EP Cry Baby showcases his unique brand of music — a blend of synths, pop, electronic music and R&B to create something he prefers to dub as “VHS pop.” Despite this nostalgic nod, it’s definitely got a futuristic feel. It’s hazy, dark, static and autotune-riddled. His music becomes all the more impressive when coupled with the fact that HERO not only wrote each lyric, but produces his captivating records himself — experimenting on both sides of the spectrum. Sometimes the singer manipulates his voice to feel as though it’s just another facet of the drum-heavy production, while at other times his vocals are clearly the focal point. His mastery of both aspects means he need not look to outside inspiration, and thus results in a rather incubated and distinct sound — one that is truly his own.

Is it a concert? Is it performance art? Or is it a sound installation? Oh, it’s everything, and it doesn’t matter. TENGGER creates a sense of the universe by projecting images and playing the Indian harmonium and modular synthesizer. It feels unconsciously well-planned and comfortable, like an impeccable pattern from columnar jointed volcanic rocks or a hypnotically repeated drone from the resonance of a conch shell. The sound inspired by nature and universe with a philosophical attitude doesn’t miss the texture and provocation of the openly-expressed Krautrock influences.

Marlon Craft breathes hip-hop. His debut album Funhouse Mirror is a mature body of work, filled with punchy kick drums and live instrumentation glazed with impactful lyrics. Growing up in New York’s Hell’s Kitchen, Craft had no choice but to sacrifice his days, nights, weekends, and holidays to have a career as a rapper. He consistently uploaded albums and music videos until he landed a deal with Same Plate Entertainment in 2018. The following year, he elevated his status with his own brand of poised wordplay, freestyling on radio shows like Sway’s Universe, in which he claims he’s a blend of Nas, Talib Kweli, and Mos Def. But songs like “Gang Shit”, a nearly 6-minute track that dives deep into the systemic inequalities plaguing America’s minorities, prove that he has more than witty wordsmithing in his arsenal. At just 27 years old, Craft is steadily climbing towards hip-hop nobility with blessings from T.I. and Killer Mike.

London singer/songwriter Beabadoobee went viral with the first song she ever wrote on a guitar. That’s a cool story, but it’s not always the best way to launch a career. Overnight success can lead to a quick burnout, but Beabadoobee is one of the fastest-evolving new artists out, and she’s still only 19 years old. Now she’s signed to independent record label Dirty Hit (The 1975, No Rome, The Japanese House) and she’s built her acoustic bedroom tunes into grunge-y, ‘90s-inspired jams with rich production and sophisticated songwriting. Bea’s 2019 EP Loveworm showcased her potential as a true rockstar in the making, and she’s been putting in time on the road delivering shows good enough to convert casual listeners into fans. “I went into this thinking this was going to go nowhere,” Bea says. “I was just doing it for fun. So every time you make art, do it for fun. With no expectations.” Fun isn’t always a word you associate with the slacker rock space Beabadoobee thrives in, but her energy is contagious.

Brighton, UK foursome Porridge Radio aren’t the type of band that washes up on the shore every day. Their 2016 debut full-length was a promising record recorded in a garden shed, but their forthcoming 2020 follow-up Every Bad could very well be the earth-shattering arrival of one of the best young bands on the planet. The group signed to Secretly Canadian and released two singles — “Lilac” and “Sweet” — that would give anyone that feeling of urgent elation that necessitates digging up every bit of online music or press that exists. Lead vocalist Dana Margolin possesses a rare voice with both disconnected cool and deep-rooted, benevolent passion. While her delivery is occasionally detached, her lyrics couldn’t be more down to earth — there’s humor, self-loathing and a brazen desire for connection and understanding. Their sound spans grand punk, snappy indie rock and lo-fi pop, but Margolin’s dark, magnetic presence and perceptible search for meaning will transcend listeners’ stylistic preferences.

This Milwaukee artist is at the very top of my to-see list — he just oozes talent, he has an incredible and compelling collection of songs, and I can’t wait to see him do this thing live. He cites his influences as everything from The Drums to Passion Pit to American Pleasure Club, with the result being Kenny’s self-titled “new wave nostalgia”, a wonderful blend of hip hop, alternative rock & bedroom pop, which once you’ve heard you’ll be simply hypnotised by. Push play on “Sore Loser” and then I’ll see you down the front at his show!

Dry Cleaning is one of the coolest things right now. Not just one of the coolest bands — one of the coolest things. They’re the chillest while also being quietly aggressive, telling it exactly and specifically how it is. Keep an ear to the ground and be prepared to change your plans to see them. They’re instantly iconic, so classic and so fresh. Hopefully, the fact that they’re playing at SXSW means that there’s more music coming soon… fingers crossed.

Rucci was born to be a star. Hailing from Inglewood, the rapper has formed himself into a pillar in the Los Angeles underground after years of well-received projects culminating in 2019’s Tako’s Son. He showcases his ferocity on “Function in the Hood,” snarling his way through the frame with clever yet straightforward rhymes. Elsewhere on “Keep Going,” he lowers the energy to give a sentimental tribute to Sean Mackk, fellow rapper and close friend who’s life was cut short in 2017. You can feel his intensity through the speakers, but you can’t truly understand why he’s such a special prospect until you’ve witnessed his thunderous live show. Recently, he’s performed at Rolling Loud and LA’s famed Roxy Theater, and now he’ll return to SXSW to bless Austin with his West Coast energy.

Reykjavik trio Kælan Mikla open their third album Nótt eftir nótt with four minutes of icy dungeon music — synths, ritualistic drumming, ethereal and anguished voices, maybe even some wind — and the collection closes, among other things, with a rainstorm. Outside those bookends, it’s more gothic post-punk dance party — sometimes fast, sometimes slinky, always crystalline with a ‘80s-late-night-club atmosphere (you can practically smell the clove cigarettes). Part Siouxsie, part Suicide, part Sister of Mercy, there’s a strong pop element to these songs: Margrét Rósa, Laufey Soffia, and Sólveig Matthildur definitely know how to write hooks, so even when they’re singing their melancholic death rock in Icelandic, and you don’t speak Icelandic, there’s an urgency that’ll find you shouting along in any way you can.

Feminist powerhouse YAYOI DAIMON began her career as a hip-hop dancer, broke through with girl group rhythmic and collaborations with artists like SHINGO★Nishinari and AKKOGORILLA, and evolved into a completely self-produced act. Her music embodies a broad set of influences: reggae, old-school hip-hop, dancehall, and her own unstoppable message of self-expression and freedom. Feel her energy in singles like “NO BRA” and unapologetic twerk banger “KETSUFURE”.

On the surface Shady Nasty takes the form of a traditional power trio, but they’ve hit on a sound and aesthetic that feels anything but traditional. Punk meets trap in the dynamic, ominous arrangements and barked vocals that have become the band’s signature. Unpredictable, considered, and dark, Shady Nasty got even more ominous this past year with their single “Get Buff”. This year they’ve dominated the Sydney live music scene — provoking crowds, splitting ears, banging heads, and setting in stone that no band in Sydney does things quite like Shady Nasty. It’s easy to see why they have become one of Australia’s most talked-about bands.

HTRK strike a balance of sounding both quite contemporary and just slightly out of step that makes them all the more distinctive. Their beat-driven ambient is something you might have to yell over to get an overpriced, underpowered cocktail — but at the same time, there’s more depth than hedonism-as-ennui you find in a lot of modern R&B. As lush as HTRK’s music is, there’s always a slight unease running throughout. They don’t lend themselves to overt queasiness, instead letting ripples disturb ever so gently. They put out two records last year, both of which amplify different parts of their sound: Venus in Leo has the simmering beats and lovely sense of dread, while Over the Rainbow veers more towards their ambient side, beautiful if not still.

Artists with international backgrounds often find themselves stuck either in the traditional or the contemporary. Bogotá-raised, New York-based electro-pop duo Salt Cathedral is a rare pair, finding themselves comfortably nestled in the middle. Refusing to stick to one stereotype, Nicolas and Juliana create lush pop soundscapes where tropical and city meet. You’ll never find yourself standing still, as their island melodies and soft but persistent percussion will soon have your head, hips and entire body swaying along to their infectious rhythm. With only three EPs and a handful of singles, the pair has managed to entrance thousands of listeners with both their studio and live performances. This year’s SXSW performance won’t be their first, but if it is yours, I highly recommend getting lost in the jungle of their candied vocals and spicy pop beats.

Founded in London in 1976, the pioneering four-piece outfit Wire introduced themselves to the world a year later with the release of their debut album Pink Flag. Released two years before the debut of Joy Division’s Unknown Pleasures, this trailblazing effort helped set the template for various hardcore punk, post-punk and alternative rock acts in the coming decades. Songs from the project have been covered by numerous artists, from harcore punk icons such as Henry Rollins and Minor Threat, to influential alternative rock acts such as R.E.M. Despite their veteran status, the band released six studio albums during the past decade, with each record pushing the band’s sound forward. Their most recent release, Mind Hive debuted in January of this year, and showcases the post-punk sounds that the band has continually defined and redefined for over four decades.